George Grove.

A dictionary of music and musicians (A.D. 1450-1889) by eminent writers, English and foreign : with illustrations and woodcuts (Volume 4) online

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kind,' S.T.B. 9. ' Lochnagar.'S.T.B
10. 'Glencoe,' 8. T. B. 11. ' Auld
Lang Syne,' S.T.B. 12. 'The Quaker's
wife,' S.T.B.

12 Songs of various nationality, for
'Voice. PF. V. C. :— 1." God save tlie
king," Solo and Chorus. 2. 'The
Soldier" (The Minstrel Boy). 3.
' Charlie is my darling." S.S.B. 4.
" O sanctissima '. ' (Sicilian Mariner"s
Hymn), S.S.B. 5. ' The Miller of the
Dee.' S.T.B. 6. "A health to the
brave,' a 2. 7. ' Kobin Adair,' 8. T. B.

8. 'By the side of the Shannon." 9.
• Highland Harry,' Solo and Chorus.
10. ' Johnny Cope." 11. "The Wan-
dering Minstrel." Solo and Chorus.

12. ' La gondoletta.'

May(?)1815.— .4u(. of Nos.
6, 7, 8, 9, 11. 16. 17, 18, 20.
Artaria, Vienna.

Aut. No. 6, Artaria.Vienna.

Nos. 2, 6, 7, 8, 11. May 1815.

OriginaJ Publisher,

Nos. 1 to 4 in vol. i. (1814) of foregoing
publication ; nos. 5 to 20 in vol. ii.

Nos. 2 and 7 in vol. 1. of above (1814),
nos. 1. 3, 4, 5, 6, 8, 9, 10, 11, 12 in
vol. ii. of the same.

No. 5, 6, 7, 8, 9, 10, 11 published In
vol. vi. of above collection, 1841.

Nos. 2. 6, 8, 11 . published by Thomson,
Edinburgh, 1816^ nos. 3 and 5 by
him, Ib31.

I This is possibly a Welsh, possibly an Old English air.







Original Publiiher.

Dedicated to


Song, ' Scbllderuog eines Ufidchens.'

1781 (?)

Bossier of Spire. In 'Blumenlese fur
Klavierliebhaber,'I783 — 'vonHerrn
Ludwig van Beethoven, alt eilf


Song to Wirth's * An eiDen Sfiuglicg.*

Bossier of Spire, In ' Nene Blumenlese
for Clavierliebhaber.' 17*4.


Song, 'Farewell to Vienna's citizens,'
to Friedelberg's words. Solo.

Nov. 15. 1796.

Artarla t. Co. Vienna, Nov. 19. 1796.

Obristwacht-meister von


War Song of the Austriaus. to Friedel-

Artaria & Co. Vienna, April 14, 1797.

berg's words, tolo and Chorus,

with PF.


Song to Pfeffel's ' Der freie Mann."

1795(?)— 4i<«.Artaria,Vienna.

Simrock. Bonn, with another text,
by Wegeler— 'Maurerfragen.' In
1808 with original text and with
op. 75, no. 2, and ' Opferlied," no.

See no. 220.

234 Matthisson's 'DieFlamme

1795 (?)

lodert.' comp. op. 121 6.


Song. ' Ziirtliche Liebe ' to Herrosen's
'Ich liebe dlch' Voice and PF. (G.)
N.B. begins with second stanza.

AtU. Dr. Schneider, Vienna.

Traeg. Vienna. June 1803. ' n Lieder,
no. 1 . . . von Ludwig van Bee-


Song. 'La Partenza," to Metastasio'3

Bevised copy, C. A. Spina,

Traeg, Vienna, June 1803. ' 11 Lieder,

' Ecco quel tiero istante ' (A).


no. 2, etc' See no. 222.


Song. ' Der Wachtelschlag • (the Quail)
toSauter's'Horchl wieschall's.'CF.)

Kunst- und Industrie Comptoir,
Vienna, March, 1S04.


Song, 'Als die Geliebte sich trennen
wollte.' words translated by S. von

Allgemeine Musik. Zeitung, Leipzig,

Nov. 22. 1809.

Breuning from the French of G.

Bernard (Eb).


Arietta, to Carpani'a ' In questa tomba

1807(?)- J u(.Artarla.Vleima.

The sixty-third of a collection of set-
tings of Carpani's poem published
by MoUo, Vienna. Sept. 1808.


Song," Andenken ' to Matthisson's " Ich

Breitkopf 4 HSrtel, May 1810.

denkedein' (D).


Four settings of Cioethe's'Sehnsucht.'
— 'Nur wer die Sehnsucht kennt.'
Soprano and PF.

Kos. 1, 2, 4. G minor ; No. 3, Eb.

No. 1, Appendix to "Prometheus,*
no. 3; April 1808. The 4 settings
appeared at Der Kunst und In-
dustrie Comptoir, Vienna, Sept. 22,

Breitkopf 4 HSrtel, May 1810.


Song, to Eeissig's * Lied aus der Feme '

ISOS.—Aut. Artarla,Vlenna.

—'Als mir ncch.' Voice and PF.



Song, to Eeissig's ' Der Liebende '—
'Welch ein wunderbares Leben.'
Voice and PF. (DJ.

Aut. Artarla, Vienna.

A. Kuhnel. Leipzig, in " Achtzehn
deutsche Gedichte," etc. .July 1810.


Song, to Eeissig's ' Der Jungling in der
Fremde.'— 'Der Fruhling entblu-

A. Kiihnel, Leipzig, with the fore-



Song, to Eeissig's ' Des Krleger's Ab-
schied' (Eb).


P.Mechettl. Vienna, in 'Sechs deutsche
Gedichte." etc.. June 1815.


Song, to Eeissig's ' Sehnsucht '—' Die
stille Nacht."

1815 or 1816.

Artaria A Co..Vienna,inDrei deutsche
Gedichte," etc., June 1816.


Song, to StuU's ■ An die Geliebte '— '

Dec. 1811. — 4ut. Fetter,

Vienna, in ' FriedensblStter,' July 12,

dass ich dir.' 2 versions in N.




Song (Bass 1, to F. E. Herrmann s ' Der
Bardengeist'— 'Dort auf dem hohen
Felsen ' (G.)

Nov. 3, 1813.

Musenalmanach for 1814, Vienna.


Song, to Treitschke's ' Euf vom Berge '
'Wenn ich ein ViJglein war' (A).

Dec. 3, 1816.

Appendix to F. Treitschke's Foems,
June 1817.


Song, to Wessenberg's ' Das Geheim-
niss '— ' Wo blttht das Bliimchen.'


Wiener, Hoden-zeltung. Feb. 29,1816.


Song, to Carl Lappe's ' So oder so.'—
' Nord Oder Sud? '(F).


Wiener Moden-zeitimg, Feb. 15, 1817.


Song, to von Haugwitz's ' Eesignation.'
' Lisch aus. mein Licht ! ' (D).

End 011817.

Wiener Zeitschrift fiir Kunst, March
31, 1818.


Song, to Goethe's ' Abendlied unter'm

March 4. 1820.- 4i.«. Hof-

Wiener Zeitschrift filr Kunst, March

gestirntem Himmel.'— ' Wenn die

bibliothek. Vienna.

28, 1810.

Sonne nieder sinket ' (E).


Two songs to Burger's words, 'Seufzer
eInes Ungeliebten.' and 'Gegen-
liebe.' For 'Gegenliebe,' seeop. 80.

1795 (?)

Diabelli 4 Co., 'Vienna, April 1837;
with no. 255.


Song, to Herder's 'Die laute Klage."
— ' Turteltaube" (C minor).

1809 (?).

See the foregoing.


Song. ■ Gedenke mein! Ich denke dein '

HasUnger, Vienna. 1844.


BEGNIS, SiGNORA. For last line but one of
article, readi took place at Florence June 7j iSfS-

BEGREZ. In lines 2 and 6 of article, for
1 787 and 1 801, read 1 783 and 1804 respectively.
(Corrected in late editions.)

BELLERMANN, J. J. Line 4 from end of
article, /br a few years since, read Feb. 4, 1874.

BELLINI. Line 2, for date of birth substi-
tute Nov. I, 1801. Line 10, for nine read four.
Line 25, insert date of 'Adelson e Salvina' {sic),
1824. Page 212 b, 1. 7, add date of ' Pirata,'

1827. Line 17, /or 1828 rca(i 1829. Line 41,
for 33 read 29 (corrected in late editions).
Line 50, add date of ' Sonnambula,' 1831. Page
213 a, 1. 24, add date of * Norma,' Dec. 26, 1831.
Page 213 b, 1. 7, add date of ' Puritani,' 1835.
Page 214 a, 1. il,for 29th of earlier, and 33rd,
of later editions, read 34th,

BELLMANN, C. M. See vol. iii. p. 610 b,
note 2.

BELLOC. The dates of birth and death are
Aug. 13, 1784, and May 13, 1855.


BENDA, Geobg. Paloschi gives the place of
his birth, Jungbunzlau, and says that he died at
Kosteritz, Nov. 6, 1795.

BENDEL, Fbanz. See vol. ii. 735 a.

BENEDICT, Sib Julius. Add that in early
life he studied with J. C. L. Abeille, and that
his appointment at Vienna was that of con-
ductor at the Kamthnerthor Theatre, which he
held from 1823 to 1825. Page 222 5, last line,
for the whole read most. Page 223 a, 1. 3, add
the date 1852 for his return to England, and that
in the same year he was appointed conductor of
the Habmonic Union. Add to his works the
cantata ' Graziella,' written for the Birmingham
Festival of 1882 (originally intended for the
Norwich Festival of 1881, but not completed in
time), which was subsequently produced as an
opera at the Crystal Palace. He died at his
residence, 2 Manchester Square, on June 5,
1885, and was buried at Kensal Green on the
nth. (Diet, of Nat. Biog., etc.) [M.]

BENEVOLI, Obazio, a celebrated contra-
puntist, born at Rome in 1602, was reputed to be
a natural son of Duke Albert of Lorraine. He
studied under Vincenzo Ugolini*, and commenced
his professional career as Maestro di Cappella in
the Church of S. Luigi de' Francesi. After a brief
tenure of this post he was called into the service
of the Austrian Court, and during his residence
at Vienna, in the years 1643-45, he published
several collections of motets and offertories, but
his best works were produced after his return to
Rome. Here he resumed his former office in
S. Luigi de' Francesi, but held it only for a few
weeks. On Feb. 23, 1646, he was transferred to
S, Maria Maggiore, and on Nov. 7 of the same
year he succeeded Mazzocchi as maestro di cap-
pella at the Vatican. This appointment he re-
tained, in high repute both as a teacher and
a composer, until his death on June 17, 1672.
He was buried in the Church del Santo Spirito in
Sassia. One of his best pupils was Bernabei.

Benevoli's chief merit as a composer was the
skill with which he handled a large assemblage
of voices in separate parts. Masses, psalms,
motets and anthems of his for 12, 16, 24, and
48 voices, in 4, 5, 6, 8, and even 12 distinct
choirs, are quoted by Baini, Santini, Bumey,
F^tis and others. Bumey (in his History of
Music, ii. 474) specially praises a mass a sei cori
which was in his own possession ; and F^tis cites
a mass for 48 voices in 12 choirs^ as a feat never
excelled, and only twice equalled, viz. by J. B.
Giansetti and G. Ballabene. Specimens of Be-
nevoli's works will also be found in the contra-
puntal treatises of Padre Martini, Padre Pao-
lucci, and F^tis, who are of one mind in regarding

1 Martini. Burney. Bertinl. Orloff, and others, speak of Benevoli as
the pupil of Bernadino Nanini ; but Liberati. doubtless writing with
accurate knowledge, says in his Lellera ad OUav. Persapeffi, pp. 58,
59, 'the other renowned pupil and favourite of B. Nanini was Vin-
cenzo Ugolini. a great master in the art of teaching ... as many of
his pupils have shown, especially Benevoli . . . who excelled his
master and all others living in writing for four or even six choirs in
four parts each . . .*

2 This Mass was sung at Borne, in 8. Maria sopra Minerva, by 150
professors, on August 4, 1650 ; and the expense of the performance
was borne by a nataryi Dominique Fonthia by name.



him as an admirable model to study in writing
for a large number of voices. But, excepting
this particular kind of skill and ingenvuty,
Benevoli's music has no real artistic value. Hia
fugues are rarely developed, for after a few bars
thy break off, and though his harmony obviously
imitates Palestrina's, it falls far short of the
same level of excellence in respect of simplicity
and grandeur. Many of Benevoli's works, both
in print and in manusciipt, are extant, and are
preserved in the Basilica of the Vatican, in the
Casa Corsini alia Lungara, in Sir Frederick
Ouseley's library, and in the British Museum.
Some -will be found also in the collections pub-
lished by Teschner, Eochlitz, and Prince de la
Moskowa. [A.H.W.]

BENINCOEL Add day of birth. Mar. 28.
BENNETT, Joseph, critic and litterateur ;
bom at Berkeley, Gloucestershire, in Nov. 1831.
Author of the librettos of the ' Good Shepherd '
(J. F. Barnett), the ' Rose of Sharon ' and ' Story
of Sayid' (Mackenzie), the 'Golden Legend'
(Sullivan), 'Ruth' (Cowen), and 'The Garden
of Olivet' (Bottesini). Mr. Bennett furnishes
the analyses for the programme-books of the
Philharmonic Society and the Monday and
Saturday Popular Concerts. His account of the
origin of the latter was published ^ d, propos of
the thousandth concert, April 4, 1887. Mr.
Bennett has published ' Letters from Bayreuth'
(1877), originally contributed to the * Daily
Telegraph ' ; his articles on ' The Great Com-
posers, sketched by themselves ' began in the
'Musical Times,' Sept. 1877, and are still in
progress there, while some of them are repub-
lished as 'Primers of Musical Biography'
(Novello). Mr. Bennett edited 'Concordia'
during its too-short existence,* and among his
valuable contributions is a ' Comparison of the
original and revised Scores of Elijah,' which,
after the death of ' Concordia,' was completed
in the ' Musical Times.' It is however as the
musical reporter of the 'Daily Telegraph'
that Mr, Bennett exercises the greatest influ-
ence. [G.]
BENNETT, Sie W. S. Page 225 h. Refer-
ence should be made to his attempt to obtain the
professorship at Edinburgh, an account of which
is found in vol. ii. 283. Line 22 from the bottom
of the same column, /or 1857 read 1867. (Cor-
rected in late editions.)

BENNETT, Thomas. The date of his birth
is probably 1 784, if the inscription on his tomb-
stone may be trusted.

BENOIST, FEAN501S, bom Sept. 10 at Nantes,
entered the Paris Conservatoire in 18 11, under
Adam and Catel, and gained the Prix de Rome
in 1 81 5 for his ' OEnone.' On his return from
Italy in 1819 he was appointed first organist at
the Court, and soon afterwards professor of the
organ in the Conservatoire. In 1 840 he became
Chef du Chant at the Opera. He died in May
1878. His works include a three-part Mass, the

8 • a story of Ten Hundred Concerts. Feb. 14. 1889— April 4, 188T.'
« MoveUo, May 1. 1S75, to April 22, 1£76.



operas 'L^onore et F^lix' (1821), ' L'Appari-
tion ' (1848), and several ballets. [M.]

BENOIt, Pierre Leopold Leonard, Belgian
composer, and the chief promoter of the Flemish
musical movement, was bom in Harelbeke (West
Flanders'). Aug, 17, 1834. Having first studied
music with his father and with Peter Carlier,
organist of the village of Desselghem, he entered,
at 17, the Conservatoire of Brussels, where Fetis
took the greatest interest in him, and taught him
counterpoint, fugue, and composition. While
still studying, he became conductor at a Flemish
theatre in Brussels, whei-e he wrote the music to
several plays, and also an opera, ' Le Village dans
les Montagues' (1857), which attained success.
In this year he carried off the firsb prize for compo-
sition, and by means of a grant from government
be was able to make a tour in Germany. He
visited Leipzig, Dresden, Prague, Berlin, and
Munich, composing songs, piano pieces, motets,
etc., and sending to the Academic at Brussels an
essay, 'L'Ecole Flamande de Musique et son
Avenir,' and a ' Petite Cantate de Noel.' On
his return to Belgium he brought out in Brussels
and Ghent a Messe Solennelle which was much
praised by F^tis. He then went to Paris (1861)
in the hope of producing an opera ('Le Eoi des
Aulnes ') at the Theatre Lyrique, and here he was
for some time conductor at the Bouffes Parisiens.
Eeturning to his own country, he at once took up
a position by producing in Antwerp (April 1864)
a Quadrilogie Religieuse, consisting of four pre-
vious compositions, his Cantate de Noel (i860),
Messe Solennelle (1862), a Te Deum, and a
Eequiem. He was tlien seized with the desire of
stirring up a musical movement in Flanders,
distinct alike from the French and German
schools. By dint of activity and perseverance
and of exciting the amour propre of his country-
men, he gathered round him a certain number
of adepts, and created the semblance of a
party of which he was the acknowledged
head. This agitation was so cleverly con-
ducted that it ended in the foundation of the
Flemish School of Music in Antwerp in 1867,
under the auspices of the town and the govern-
ment. Benoit was appointed director, and has
retained the post until the present time. From
that time he has unceasingly promulgated the
theory of a national Flemish art by means both
of pamphlets and musical compositions. But on
what does this theory rest ? Almost all the Bel-
gian composers, whether they possess the genius
of Gretry, the talent of Gossec, or merely the
science and erudition of Limnander or Gevaert,
form part of the French school. Miisically
speaking, Belgium serves as an intermediary
between France and Germany. On account of
the proximity of the two countries and the aflB.-
nity of their languages, the musical creations of
modem Germany are more rapidly known and
more appreciated in Belgium than in France, —
Richard Wagner, for instance, has long been
justly admired by the whole of Belgium, — but
what special elements are there out of which to
form a Flemish school of music ? If, as is said,


it consists simply in setting Flemish words to
music, the thing is a mere quibble, unworthy
of a musician with any self-respect, for in the
question of musical style the language used
signifies absolutely nothing.

The only result of this crusade is to isolate those
composers who make use of a language so circum-
scribed as Flemish, since works written in this
language would have to be translated before they
could gain anyreputation out of theirown country.
And this explains why the head of the school,
who is at the same time its sole musical repre-
sentative, Benoit himself, is quite unknown to
the public outside Flanders. But he has de-
served the gratitude of his country for the
impetus he has given to music, especially in
Antwerp, which, from a musical point of view,
has become quite transformed by his ardour.
But he has taken advantage of a mere figure
of speech to create for himself a particular
position ; for his enormous compositions — ' Luci-
fer,' 'L'Escaut,' 'La Guerre,' etc. — have in them
no Flemish characteristics but the text; the
music belongs to all schools, particularly to that
French school against which Benoit pretended
such a reaction.

Upon poems of little clearness or variety the
composer has built up scores which are certainly
heavy, solid, and massive enough, but which
are wanting in charm and grace. Benoit's
musical ideas have no originality ; he gets all his
effects by great instrumental and choral masses,
and is therefore obliged to write very simply in
order to prevent inextricable confusion. What-
ever plan he adopts he prolongs indefinitely ; he
repeats his words, and the meagre phrases which
form his melodies to satiety. By his regular
rhythms and solid harmonies, generally pro-
ductive of heaviness, his music has here and
there something in common with the choruses
of Gluck and Kanieau, but these passages are
unfortunately rare. His style is derived some-
times from Gounod, sometimes from Schumann,
and yet he firmly believes himself to be following
the traditions of the Flemish school. When
Benoit does not chance upon any reminiscences
of this kind, he exhausts himself in interminable
repetitions, which never reach the interesting
development we should expect from a musician
of his calibre.

The list of Benoit's compositions would be very
considerable were all his productions for voice
and piano to be included, especially the sacred
works, which date from before the conception of
his theory, and upon which he no longer sets any
serious value. The most important works of the
second part of his career, written, it is needless to
say, to Flemish words, and most of them to the
poems of Emmanuel Hiel, are the following : —
' Lucifer,' oratorio, performed in Brussels, 1866,
and in Paris, 1 883 ; ' Ita,' opera in 3 acts. Theatre
Flamand, Brussels, 1867; 'L'Escaut,' oratorio,
1869; 'Drama Christi,' Antwerp, 1871 ; 'La
Lys,' cantata performed before the King at
Courtrai, 1871 ; 'La Guerre,' oratorio, Ant-
werp and Brussels, 1 8 73 ; ' Charlotte Corday ' and#




jruillaume le Tacitume,' music to two Flemish
'amas represented at Antwerp and Ghent in
575 and 1876 respectively; ' Eubens-cantata,'
ntwerp, 1877; 'Antwerpen,' Antwerp, 1877:
iucbald,' cantata, and ' Triiimfmarsch ' for tlie
auguration of the Brussels Exhibition in 1880;
jaMuse de I'Histoire,' Antwerp, 1880; 'Hymne

la Beaute,' 1882; 'Van Ryswick,' cantata,
ntwerp, 1884; ^^<i 'Juich met ons,' cantata

honour of the Burgomaster Buls, Brussels,
?86. [A.J.]

BERGER, LuDWiG. Line 3 of article, for
J38 read 1839.

BERGGREEN, Aitdreas Peteb, bom at
Dpenhagen in 1801, studied harmony and began
> compose from the age of 14. Though destined
7 his parents for the law, he was led by his
rong predilection for music to devote himself
rofessionaUy to that art. His opera ' Billidet
r Busten ' (The Picture and the Bust), first
arformed April 9, 1832, and other works on a
irge scale, are less valued than his songs, espe-

ally his Xational Songs in 11 vols., his Songs
)r School Use, 13 vols., and above all, his Church
lusic and his Collection of Psalm Tunes, pub-
ished in 1853, and since adopted in the churches
[iroughout the country. His success in this
iirection may be owing to his position as organist
'd the church of the Trinity, Copenhagen, from
[838. He was a professor of singing at the
|Ietropolitan School from 1843, and in the same
iear he established the first of those musical
issociations for the working classes now so popu-
vr in Denmark. Berggreen wrote occasional
rticles in the leading Danish papers, and for a
hort time edited a musical publication no longer
xisting. One of his most distinguished pupils
a harmony and thoroughbass was Gade. Berg-
Teen died at Copenhagen, aged 79, Xov. 9, 1880.
•"or details of his early life and lists of his works,
ee Erslew's ' AlmindeHgt Foi-fatter Lexicon,' Co-
)enhagen 1843, and its supplements. [L.M.M.]

BERINGER, Oscar, a distinguished pianist,
vas bom in Baden in 1844. In 1849 his father
vas compelled to fly to England as a political
efugee, where he lived in straitened circum-
tances. Owing to this reason the only musical
sducation Mr. Oscar Beringer received, up to his
[■9th year, was from an elder sister. During the
^ears 1S59 ^^'l i860 he gave several series of
Pianoforte Recitals at the Crystal Palace, and in
[861 made his first appearance at the Saturday
poncerts. Recognising the necessity of going
'.hrough a course of systematic training, he stu-
lied at Leipzig under Moscheles, Richter, Rei-
lecke, Plaidy, etc., from 1864 to 1866, and
lontinued his studies at Berlin under Tausig,
Ehlert, Weitzmann, etc. In 1869 he was np-
■)ointed a professor at Tausig's ' Schule des Ho-
leren Clavierspiels ' at Berlin, but in 1871 he
•etumed to England, where he has repeatedly
clayed with great success at the Crystal Palace
Saturday Concerts, Musical Union, etc. In Jan.
1872 he played at the Gewandhaus Concerts at

Leipzig, and on his return to England in the
following year he founded in London an 'Aca-
demy for the Higher Development of Pianoforte
Playing,' an institution which hns fully borne out
the promise of its name. On Oct. 14, 18S2, he
played the pianoforte part in Brahnis's 2nd Con-
certo on its first performance in England. Mr.
Beringer 's compositions include an Andante and
Allegro for pianoforte and orchestra (performed,
1880, at the Saturday Concerts and at Mr.
Cowen's Orchestral Concerts), Sonatinas for the
piano, a number of small instructive pieces, and
several songs. [W3.S.]

BERIOT, C. A. DE. Page 231 I, 1. 28-9, for
in 1835 read, Mar. 26, 1836.

BERLIOZ, Page 233 I. The last paragraph
but one is to be corrected as follows : — He was
appointed conservateur in 1839 and librarian in
1852. See i. 393 h. lines 13-15 from bottom.

BERNER, F. W. Line 2 of article, for
March read May.

BERTINI, Henri. Add day of birth, Oct. 28.

BERTON. Line 4, add after the father's
name, his dates (1727-1780). Line 11, for in
read Sept. 17. Last line of article, for 1842
read Apr. 22, 1844.

BERTONI. Correct dnte of birth to Aug.
15, 1725, and that of death to Dec. i, 181 3.
Line 4 of article, /br 1750 reaxl 1752 ; and two
lines below, _/or seven read five.

BERWALD. The dates of birth and death
belong to the cousin of the subject of the article,
Franz Berwald, who was director of the Conser-
vatorium in Stockholm. Johann Friedrich was
born in 1788, and died in 1861, having held the
appointment of capellmeister since 1834. [M.]

BESOZZI. Line 5 from end of article, after
son add Henri, and insert date of death of Louis
De'sirt^ Besozzi, Xov. 11, 1S79.

BESSOX, GuSTAVE AuGUSTE, a celebrated
manufacturer of musical instruments, born in
Paris 1S20, died 1S75. His father was a colonel
of distinction in the French army, and but for
his intense love of music and natural genius for
mechanics, there is no doubt young Besson
would have adopted his father's profession.
In 1838, when scarcely eighteen years of age.

*^ b*" 1st vail



.«- Srd valve.

he produced a new
model cornet, which
met with the great-

Online LibraryGeorge GroveA dictionary of music and musicians (A.D. 1450-1889) by eminent writers, English and foreign : with illustrations and woodcuts (Volume 4) → online text (page 128 of 194)